Literary Theory and Poetics

Il nostro comune sentire morale richiede che la sorte di ciascun individuo corrisponda ai suoi meriti. Tuttavia, come suggerisce la nostra esperienza quotidiana, l’uomo può costruire o controllare solo in parte la propria sorte: egli – osserva Shakespeare – è il buffone di una fortuna che mal distribuisce i suoi doni. Nella commedia a lieto fine, la giustizia poetica rappresenta il tentativo di moralizzare la sorte, riequilibrandone la casualità retributiva e allargando la sfera del controllo etico a tutto ciò che nel mondo ‘reale’ appare eticamente incontrollabile. Il meccanismo etico-narrativo che presiede alla giustizia poetica si basa sulla convergenza finale tra fatti e valori: nello scioglimento dell’azione, ciò che accade è anche, necessariamente, giusto. Le commedie shakespeariane, nell’aderire a tale meccanismo, ne svelano al contempo le contraddizioni più profonde. Nei drammi più intensamente problematici, il rapporto tra fatti e valori risulta rovesciato: i fatti, cioè, anziché derivare dai valori, li istituiscono. Nel prendere le mosse dai drammi shakespeariani, la riflessione critica proposta nel volume si estende ai grandi temi della filosofia morale (la giustizia, la sorte, il giudizio di valore) e alla loro specifica rappresentazione nell’universo drammatico.

Abstract
In this lecture, Abdurrahman Gülbeyaz explores the intricate relationship between poetry and resistance through the work of Japanese poet Wakamatsu Jōtarō. Beginning with a philosophical reflection on the origins of life, communication, and the role of symbolic systems, Gülbeyaz positions poetry as a vital form of human expression embedded in a semiotic universe. He argues that poetry, while seemingly abstract, is never politically neutral—especially when situated in contexts of domination and suffering. By analysing Wakamatsu’s poetry, Gülbeyaz identifies five distinct modes of resistance: historical-colonial, pacifist, civil-social, poetic-existential, and mnemonic. The lecture highlights how Wakamatsu’s verse challenges systems of power and erasure, offering a poetics of witnessing and ethical engagement. Through comparison with classical figures like Virgil, Horace, and Ovid, Gülbeyaz also critiques poets’ complicity or resistance within power structures. Ultimately, he positions Wakamatsu’s poetry as a rare synthesis of aesthetic expression and moral commitment.

要旨
本講演においてアブドゥルラッハマン・ギュルベヤズ氏は、詩と抵抗の関係性を若松丈太郎の詩作品を通して探求する。生命、コミュニケーション、そして記号体系の起源に関する哲学的考察から出発し、詩を人間固有の表現様式であり、セミオスフィア（記号宇宙）における特異な営為として位置づける。ギュルベヤズ氏は、詩が現実世界における支配と苦痛の文脈において決して中立ではなく、時に加担し、時に抵抗する力を持つと論じる。若松の詩を分析する中で、氏は五つの抵抗の類型——歴史的・植民地主義的、平和主義的、市民的・社会的、詩的・実存的、記憶に基づく抵抗——を明らかにする。また、古代ローマの詩人ウェルギリウス、ホラティウス、オウィディウスとの比較を通じて、権力構造と詩人の関係性を批判的に考察する。若松の詩に見られる倫理的かつ美的な抵抗の姿勢は、詩がいかにして忘却に抗し、抑圧された声を呼び戻す装置となりうるかを示している。

Verbum Vitae 43, no. 1 (2025): 165–184.
In a postmodern linguistic turn, Paul Ricoeur pays great attention to the subject and the Biblical text itself. This helpfully presents a very pristine text, one which can move and recreate the subject who encounters the text with humility. However, when it comes to Biblical exegesis specifically, Ricoeur's method is immanentist, a historical, and unhelpfully rejects any interpretive authority. Olivier-Thomas Venard, like Ricoeur, pays great attention to the sign-character of the Bible's language, but offers a more holistic exegesis which takes the Bible on its own terms and is metaphysically and historically grounded. In this article, I first lay out Ricoeur's poetical exegetical project and offer interpretive and metaphysical critiques; specifically, I contend that his "distanciated" reading of the Bible and his rejection of authority fail to interpret the Bible on its own terms. I then turn to Venard, who sympathizes with Ricoeur's subjective and linguistic turn while remaining grounded in interpretive authority, history, and providence, offering what Matthew Levering calls a "participatory exegesis."
Read the whole article at https://czasopisma.kul.pl/index.php/vv/article/view/17573

EnglishThe study of the context in which the expression HD tA appears permits the advancement of some conclusions about its meaning and implications. The idea of violence and death which it seems to express can be identified iconographically in some documents. All this contributes to the debate about the reality or symbolism of the scenes of “smiting the enemies” adding some new arguments in favour of the former EnglishEl estudio del contexto en el cual la frase HD tA aparece permite avanzar una serie de conclusiones sobre su significado e implicaciones. La idea de violencia y muerte que parece expresar puede rastrearse iconograficamente en varios documentos. Todo ello contribuye al debate sobre la realidad o simbolismo de las escenas de aniquilacion de enemigos aportando nuevos argumentos en apoyo de la primera opcion

In Emily Dickinson\u27s Open Folios Marta L. Werner presents both an experimental edition of the forty holograph drafts and fragments known as the Lord correspondence and a highly suggestive analysis of this material. Werner\u27s book proceeds from the simple seeming proposition that we must learn to see Dickinson\u27s holographs before reading them. In this claim Werner aligns herself with Susan Howe, Martha Nell Smith, Sharon Cameron and a [End Page 111] growing list of scholars who believe that the visual complexities of Dickinson\u27s holograph manuscripts significantly challenge generic categories such as poetry, prose, letters, and books. Werner\u27s work most particularly resembles Howe\u27s stylistically, for Werner allows her critical perceptions to shape the texture of her prose. Convinced that at the heart of Dickinson\u27s work is an interplay of voices, Werner herself abjures traditional argumentation in favor of a poetic writing that encourages readers to collaborate w...

This essay explores dance and poetic articulations of disabled life. It connects Emily Dickinson's dashes to balletic movements like the rond de jambe, which symbolize both fluidity and resistance to stillness. Delchamps ponders the experiences of pain and ableism, reflecting on her own diagnoses of rheumatoid arthritis and Ehlers-Danlos Syndrome. The article ultimately delves into the broader implications of medical bias and the importance of disability identity, advocating for a shift in focus from curing conditions to promoting access.

But what happens to Dickinson here? Howe's sentimental reading of the materiality of Dickinson's texts precisely "tames" Dickinson "for aesthetic consumption." Dickinson's work is painfully focussed on the materiality of the signifier and text; throughout her work, she enacts and thematizes the violent objectification of her subjectivity. The mutilated words, sentences, lines, and stanzas that mark her stylistic practice, along with her uncommon

Drawing on Venuti's foreignization and domestication and Derrida's concepts of iteration, supplementarity, différance and ghostliness, this article suggests that Khalil Mutran's and Jabra Jabra's translations are not duplications of Shakespeare's Hamlet but they appear as apparitions of an apparition. This study adopts a descriptive analytical approach that presents the collected data from Shakespeare's Hamlet (1992), Jabra's translation (1979) and Mutran's (2012), respectively. Through the analysis of the chosen examples, we contend that intertextuality, translation and ghosts are deconstructive of temporality, ontology and meaning as they entail 'repetition' and 'différance' .

There never would've been any fascination with retrofitting Greek meters for English verse in the first place, if not for the truly amazing gallumph of the Latin thing. Even so, only crackpots it seems at sesquicentennial intervals, waging quixotic war on the whole shebang after Chaucer, get the bug.-No Ennius has yet appeared. Is it really so hard? 'It is superstition to put one's hope in formalities, but it is pride to be unwilling to submit to them.'-Pascal (249) notes & samples

EnglishThe study of the context in which the expression HD tA appears permits the advancement of some conclusions about its meaning and implications. The idea of violence and death which it seems to express can be identified iconographically in some documents. All this contributes to the debate about the reality or symbolism of the scenes of “smiting the enemies” adding some new arguments in favour of the former EnglishEl estudio del contexto en el cual la frase HD tA aparece permite avanzar una serie de conclusiones sobre su significado e implicaciones. La idea de violencia y muerte que parece expresar puede rastrearse iconograficamente en varios documentos. Todo ello contribuye al debate sobre la realidad o simbolismo de las escenas de aniquilacion de enemigos aportando nuevos argumentos en apoyo de la primera opcion

The contemporary dramatic work, especially in France which is a principal axis for the formation of European dramaturgical tendencies, seems to be the sui generis and paradoxical product of the crisis in literary genres: on the one hand its narrative and "fragmented" dimension completely contradicts the rules of traditional dramatic form. On the other hand, it lays claim to an intensely poetic dimension which returns theater to the sphere of literature. "Postdramatic theater" is an anti-dramatic theater, "poetic" in the sense of the predominance of the word over action, of monologue over dialogue, but also of interiority/reading over spectacle/watching. Representative of the "postdramatic theater" of the last two decades of the twentieth century is Valère Novarina's "Theatre of the Ears," on the meaning of which we especially focus here. To what extent, however, can a contemporary poetic theater completely disengage itself from drama? This is the main question posed by this paper, with reference to dramatists who constitute the core of contemporary French theater, from Bernard-Marie Koltès to Olivier Py and Valère Novarina. Acting as a Source of Writing T he way we conceive, understand and deal with things is reflected in the names we give them. With regard to writing for the theater, in the last thirty five years or so, there has been a great variety of definitions describing the object of this practice. A general sense of confusion surrounds the issue of definition: a lack of agreement as to what theater writing is, what it should be, how it should be. Formerly, in France-just as in Greece-we simply spoke of "plays" ("pièces"). Today, this definition has 5 brought to you by CORE View metadata, citation and similar papers at core.ac.uk writings than to contemporary writing. […] The plural allows us to take into account, and to include, all expressive forms that have artistic intent, whatever fields they may belong to, while the singular tends to refer exclusively to the text." (29). A statement like this presupposes that "writings" henceforth include video, dance and, potentially, all forms of performance, even if they are not based on a written text-something that applies widely throughout Europe. This is much more the case today, when "performance, initially focusing on personal experience, often anti-logocentric, and by extension anti-dramatic […] is no longer marked by its focus on body and movement, but by a turn to speech" (Tsatsoulis 54). On the other hand, even if the dramatic text is no longer considered necessary for a stage production to be created, theater writing has never been more widespread in the West. Obviously, the need for new literary texts transubstantiating reality on stage persists. So, the issues of "text," not only as dramaturgy accompanying a performance event, but also as an independent literary form, are at the center of the current debate on contemporary theater. In France, this is made clear by the institutional support enjoyed by the playwright (as well as the specialized publisher and the translator)-something still missing in Greece. In the regulations concerning proposals that seek funding from the Greek Arts Council in 2008, it is stated that equal credits will be given to "pioneering and research-based work in the theatre and to regular involvement in experimental or innovative forms of theatre arts." 6 Neither the type of pioneering or research-based work, however, nor the goals of the "innovative forms of theatre arts" are specified, and consequently the interpretation of the above criteria remains completely arbitrary, adjustable to any enterprise. It is clear, though, that using the adjective "innovative" presupposes the existence of a "norm" from which the "innovation" differentiates itself. This norm relates to the play as traditionally conceived. On the contrary, the "innovative forms of theatre arts" are mainly associated with scripts conceived as a synthesis of various texts, not with original texts, as can be deduced from another criterion, which introduces the necessity for working with a dramaturge. 7 Certainly, the long ex

الكشف عن الحقيقة المنسية: تصحيح أدلة مسلة إبرهه وإلقاء الضوء على هوية الملك ونفي ادعاءات تربطه بكونه ملكًا جعزيًا وحبشيًا..
ترتيب الدراسة:
1. عنوان الدراسة: "الكشف عن الحقيقة المنسية: تصحيح أدلة مسلة إبرهه وإلقاء الضوء على هوية الملك ونفي ادعاءات تربطه بكونه ملكًا جعزيًا وحبشيًا.
2. مقدمة الدراسة.
3. استكشاف الشكوك في قصة الملك إبرهه ومحاولة توضيحها.
4. تفسير الأسطورة المتعلقة بالملك إبرهه.
5. تحليل المسلة وتفسير الكلمات المستخدمة فيها.
6. توضيح الأحداث والشخصيات المذكورة في المسلة.
7. الاعتماد على المسند والمعلومات الواردة فيه.
8. استخدام القواعد النحوية واللغوية لتوضيح المعاني والإعراب المختلفة.
9. نقد الاستنتاجات السابقة وتقديم تفسير جديد للمعلومات المتاحة.
10. استنتاجات الدراسة وتوصياتها.
11. المراجع والمصادر المستخدمة في الدراسة.
12. الخاتمة وتوجيه البحث المستقبلي.
========

تشير هذه الدراسة السريعة والمختصرة إلى أهمية الكشف عن الحقيقة المنسية وإصلاح ادلة المسلة المتعلقة بالملك إبرهه، وذلك لإلقاء الضوء على هوية هذا الملك التاريخية. تمت رحلة استكشاف محو الشكوك في قصة الملك إبرهه، حيث تبين أن السطور الأولى من المسلة تحمل العديد من التفسيرات المبهمة والغموض، وتم التلاعب بها بوضع إبرهه كملك جعزي قد حكم اليمن. وبالرغم من ذلك، استمرت الثقة في السطور الموجودة في المسند التي تتميز بالوضوح والموضوعية. وبفضل الله، تمكنت هذه الدراسة من توضيح المعاني المخفية وإظهار الحقائق المنسية وراء الأسطورة. وعلى الرغم من أن الأمر أصبح واضحاً بشكل عملي، يجب مواصلة العمل في توضيح وتفسير الكلمات والأفعال بالاعتماد على القواعد النحوية. إن تطوير الفهم والمعرفة حول الملك إبرهه يعد هدفًا رئيسيًا لهذه الدراسة، ومن ثم فإنها توصي بمزيد من البحث والتحقيق في تاريخ اليمن القديم وحضارته ودور الملك إبرهه فيها. وبالاستفادة من التوصيات والاستنتاجات المستخلصة من هذه الدراسة، يمكن تطوير رؤية أفضل حول هذه الشخصية التاريخية المهمة.

A5V, 5 ft/rAiVio Seqretc Vcikicas^Oj drcKiVu? Beru Atti 'Atti dell'Accademia dei Ricovrati' (MS) BB. 'Beniana bibliotheca* (MS) 11 in ASG.A;I.F.3 t f«10rf no.39))« Another of Luca's sons, Battista, began the second branch, which was also talented and wealthy, and which eventually bore the subject of this thesis. A third branch, begun by Galasso, another of Luca's sons, was the least important and fruitful of all (ASG.A.II.D.10, f.130v). 26 Luca began a tradition of public service to the city which was passed down through his son, r Battista (ASG.A.I.F.11(6), ff.9v-10r) and thence, via Baldo BenI, to Paolo's grandfather, Giovanni Bernard!no, who was Gonfaloniere of the city five times, and finally to Paolo's father, Francesco, who held that office eight times from 1539 to 1580 (ASG.A.II.D.31, pp.7T-73). Francesco was not without wealth and property, as we shall discover from his will of 1586; and he must have been a strict and powerful father, with high ideals for his children as for his patria. A good idea of his character and standing can be gathered from a document which states that, in 156l f he, with seven others, was elected to put into practice various new measures designed to curb both excessive dowries and *il soverchio vestire delli huomini maxime de 1 gioveni 1 (ASG.A.I. C.13, fasc.9). This puritanical attitude, which is as much a part of 27 Gubbio as it is of the Beni family, was later to evince itself in his son Paolo. Francesco and Modesta had six children: two girls (Theodora who married Dottor Giulio Montegranelli in 1569 (ASG.A.II.D.31) and Eleonora who took the veil and seems to have been recorded 28 nowhere save in her father's will of 1586). Of the four sons, Giacomo, the eldest, was clearly his father's favourite. He will figure largely in Paolo's future, and mentions his brother briefly 29 in his De privilegiis Ifurislconsultorum. He was born around 1550, and studied jurisprudence in Rome. He returned to Gubbio, and was seven times Gonfaloniere. He found favour with the Duke of Urbino, who appointed him Podesta of Urbino in 1606 and 1607, and Residente in Venice for the period 3 November 1607 to 6 August 1610 i(ASV.B.31). Not only did Giacomo write on jurisprudence, but he also reformed in 1616 the antiquated fourteenth-century Statutes of Gubbio. The new Statutes were published in 1624, and remained in force in the city until the end of the eighteenth century. Paolo, Federico and Giulio were born after Giacomo, it is not known in what order. Federico does not seem to have distinguished himself in any way, and he died quite young, though not before producing heirs; Giulio followed a successful ecclesiastical career and became Paroposto of the cathedral of Fano, and was otherwise famous in his

This paper analyzes the significance of appropriating three plays by William Shakespeare-Macbeth (1606), Romeo and Juliet (1597), and Othello (1604)-in Samar Attar's Lina: A Portrait of a Damascene Girl. The Syrian novelist, Attar, finds in Shakespeare powerful sites for the expression of exile, rejection of sentimental love, and resistance of patriarchy in Arab societies. Attar's reading of Shakespeare is both constructive and deconstructive. Her novel shows simultaneously identification with and challenges to the British Bard. The main female protagonist, Lina, renounces Shakespeare's dramatization of the concept of love in Romeo and Juliet and Othello, which requires the female submission to the authority of the male lover. In Macbeth, Attar identifies with its concepts of exile and homeland when one's country becomes polluted by political conspiracies and chaos. Lina, in Attar's novel, is a new Arab Desdemona/Juliet, who is subversive and revolutionary to the atrocities of gender marginalization.

Abstract: This discussion attempts to examine why some attempts of creative writing are categorized as Literature while other attempts are relegated to being mere fiction. The discussion posits that the act engaging in this form of art results in the construction and consumption of artifice. Furthermore, discussion of the artifice has produced false conclusions in scholarship. The discussion is intended to be a part of the forthcoming work “Towards a New Poetic”, and the discussion is by no means complete. This selection merely contains the ideas that have been developed.

This article is devoted to some literary and theoretical views of Alliteration in English, giving a stylistic analysis of some literary passages in which the word master in the text of a work of art uses repetitions of individual consonants or their combinations. Alliteration is a method of euphonic repetition in one voice, tuning one or two similar sounds. It is a beautiful musical unity of the author’s thought inherent in poetry and high prose. Usually the semantic words of a sentence are alliterated. The article emphasizes that for alliteration to be effective, alliteration words must be consistent. If there are too many non-alliterative words in the middle, then the literary medium is not fit for purpose. In this regard, this article discusses alliteration and its methodological and stylistic functions in the literature.

Abstract: This essay is based on an excerpt from the forthcoming book, “Towards a New Poetic”. The portion presented in this excerpt discusses how the oral tra- dition of poetry transformed from the 12th century to the 20th century. It does not deal with the misconception created in Canonicisty Studies or the problem of gentrification in English Language Literature at its inception as a field of study. Rather it attempts to discuss how poetry, as a form of narration has developed with reference and in relation to the advent of the Novel.

Poetry has always maintained a particular relationship with mourning and its rituals, but what is it that lyric discourse has to offer in coping with death, grief, and bereavement? On the other hand, how does mourning become a central creative force in lyric poetry? How does this affect the nature of its discourse and the desires it performs? Focusing on poems by Giacomo Leopardi, Guido Gozzano, Giorgio Caproni, Giorgio Bassani, Amelia Rosselli, Antonella Anedda, and Vivian Lamarque, the essays collected in this volume explore how poetry dwells on the boundaries between high lyric and vernacular forms, the personal and the political, the local and the national, the individual and the collective, one’s own story and public history, the masculine and the feminine, individual expression and shared language. The Italian poetic tradition finds two crucial milestones in two collections of poems devoted to the lost beloved, Dante’s Vita Nova and Petrarch’s Canzoniere, and its modern and contemporary ramifications have much to offer for reflection on the ethics and poetics of mourning.


CONTENTS:

Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO

1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO

2. Carlotta’s Ghost
FABIO CAMILLETTI

3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI

4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO

5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO

6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI

7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN


More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54

Poetry has always maintained a particular relationship with mourning and its rituals, but what is it that lyric discourse has to offer in coping with death, grief, and bereavement? On the other hand, how does mourning become a central creative force in lyric poetry? How does this affect the nature of its discourse and the desires it performs? Focusing on poems by Giacomo Leopardi, Guido Gozzano, Giorgio Caproni, Giorgio Bassani, Amelia Rosselli, Antonella Anedda, and Vivian Lamarque, the essays collected in this volume explore how poetry dwells on the boundaries between high lyric and vernacular forms, the personal and the political, the local and the national, the individual and the collective, one’s own story and public history, the masculine and the feminine, individual expression and shared language. The Italian poetic tradition finds two crucial milestones in two collections of poems devoted to the lost beloved, Dante’s Vita Nova and Petrarch’s Canzoniere, and its modern and contemporary ramifications have much to offer for reflection on the ethics and poetics of mourning.


CONTENTS:

Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO

1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO

2. Carlotta’s Ghost
FABIO CAMILLETTI

3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI

4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO

5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO

6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI

7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN


More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54

Poetry has always maintained a particular relationship with mourning and its rituals, but what is it that lyric discourse has to offer in coping with death, grief, and bereavement? On the other hand, how does mourning become a central creative force in lyric poetry? How does this affect the nature of its discourse and the desires it performs? Focusing on poems by Giacomo Leopardi, Guido Gozzano, Giorgio Caproni, Giorgio Bassani, Amelia Rosselli, Antonella Anedda, and Vivian Lamarque, the essays collected in this volume explore how poetry dwells on the boundaries between high lyric and vernacular forms, the personal and the political, the local and the national, the individual and the collective, one’s own story and public history, the masculine and the feminine, individual expression and shared language. The Italian poetic tradition finds two crucial milestones in two collections of poems devoted to the lost beloved, Dante’s Vita Nova and Petrarch’s Canzoniere, and its modern and contemporary ramifications have much to offer for reflection on the ethics and poetics of mourning.


CONTENTS:

Introduction: Why Mourning in Poetry?
ADELE BARDAZZI, FRANCESCO GIUSTI, EMANUELA TANDELLO

1. The Loss of Poetry: Leopardi’s ‘Coro di morti’
EMANUELA TANDELLO

2. Carlotta’s Ghost
FABIO CAMILLETTI

3. Mourning Over Her Image: The Re-enactment of Lyric Gestures in Giorgio Caproni’s ‘Versi livornesi’
FRANCESCO GIUSTI

4. Giorgio Bassani, The Poet-Ghost, and the Memorial Duty of the Survivor
MARTINA PIPERNO

5. The Space of Mourning: Elettra’s mise en abyme
MARZIA D’AMICO

6. Mourning in Translation: The Sardinian Poetry of Antonella Anedda
ADELE BARDAZZI

7. Madre d’inverno by Vivian Lamarque
VILMA DE GASPERIN


More info can be found at this link:
http://www.mhra.org.uk/publications/ip-54

Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1.xml


Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler

The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen

“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi

Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman

Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi

Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti

The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft

Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta

“A Global Web of Elegies”
Jahan Ramazani

Available in Open Access through this link: https://brill.com/view/journals/jwl/8/1/jwl.8.issue-1.xml


Special Issue
Elegy Today: Resistance, Revision, Re-Mapping’
Ed. by Adele Bardazzi, Roberto Binetti, and Jonathan Culler
Journal of World Literature 8:1 (2023)


Contemporary Entangled Elegy
Adele Bardazzi , Roberto Binetti , and Jonathan Culler

The Elegiac Transnational. Mourning Chinese Poetry
Nick Admussen

“Maybe nothing is an elegy”. On the Impossibility of Elegy and Transnational Criticism in Victoria Chang and Valerio Magrelli
Adele Bardazzi

Elegiac Subjunctive, or, Secular Variations on Posthumous Personhood
David Sherman

Communal Mourning and Contemporary Elegy in Korean Poetry. Kim Hyesoon’s Autobiography of Death
Ivanna Sang Een Yi

Posthumous Selves. Transnationalizing Italian Women’s Self-Elegy
Roberto Binetti

The Poetics of Pain. Lament and Elegy in Modern Greek Literature
Gail Holst-Warhaft

Mourning Women. Two Modern Takes on Arabic Elegy
Emily Drumsta

“A Global Web of Elegies”
Jahan Ramazani

تتميز القصص والحكايات بين نصوص الأدب المصري القديم الأخرى بقربها إلى القارئ المعاصر، حيث تتضمن أساليب أدبية معروفة حتى عصرنا الحالي، وتتناول هموما وقضايا إنسانية تهم كل البشر في كل العصور، بعكس نصوص الحكمة مثلا الأكثر ارتباطا بشكل أكبر بتصورات خاصة محلية عن العالم وبالقيم السائدة في الثقافة المصرية في العصور القديمة، والأكثر صعوبة في الترجمة، رغم أن أجزاء منها بالطبع تعد من القطع الأدبية النادرة.
وصلنا القليل من  هذه القصص كاملة، أو شبه كاملة، ووصلنا من أغلبها جزء ضئيل وأحيانا محض عبارات قليلة، بل وأحيانا مجرد إشارة لوجودها، ويقدر عدد هذه القصص -والكامل منها قليل- بما لا يقل عن مئتي نص قصصي، ومنها مجموعة كبيرة لا تزال في مرحلة الدراسة والنشر، ويكاد يغيب عن المراجع المكتوبة بالعربية ذكر معظم النصوص المكتوبة بالخط الديموطيقي، ربما لاعتبارها حديثة نسبيا ويفصلها عن أعمال الدولة الوسطى الكلاسيكية نحو ألفي عام، أو لكونها وليدة مرحلة اختلاط ثقافات عديدة في العصر المتأخر والبطلمي ما يدعو البعض للشك في أنها قد لا تمثل بدقة عملا مصريا خالصا.

وتأتي نسبة هذه النصوص إلى جنس أدبي محدد هو القصة مثارا للجدل لدي علماء المصريات ودارسي الأدب القديم.  واستخدم المصريون كلمة سِدجدت بمعنى القصة، وهو ما يساعد على تحديد الجنس الأدبي. ولا تبدي المراجع المحدودة باللغة العربية عن الأدب المصري القديم اهتماما بدراسة هذه القصص كمجموعة مترابطة لها ملامح مشتركة ولا بدراسة الجوانب الأدبية المتعددة لكل نص على حدة.
ويمكن تقسيم هذه القصص عموما بأكثر من طريقة، منها تقسيمها إلى نوعين أساسيين، القصص الغرائبية، والقصص الواقعية.
وتضمنت الأولى القصص الملحمية التي يواجه فيها البشر قوى خارقة أو يتصلون بعالم الآلهة مثل "قصة الملاح الناجي من الغرق" و"قصة الأخوين" أو "قصة سيتنا"، و"قصة الصدق والكذب" و"قصة الراعي والإلهة"، وكذلك حكايات الحيوانات المكتوبة والمصورة، وقصص الخوارق والسحر مثل بردية ويستكار وقصة الأمير الموعود.
بينما جاءت القصص الواقعية معبرة عن أحداث قابلة للتحقق متخيلة ولكن غير خيالية رغم أنها مؤلفة أو ربما مستوحاة من قصص حقيقية مثل "قصة الفلاح الفصيح" و"قصة سنوحي" أو "قصة ون آمون"، وهي تعد الشكل الأولي للرواية الحديثة والمعاصرة التي تهتم بالأفراد العاديين والتي نشأت في أوروبا فقط مع نهاية المجتمع الإقطاعي وبزوغ عصر البورجوازية.

The purpose of this article is to illustrate the reception of some Shakespearean plays in Argentina. Part 1 focuses on the limitations imposed by the audience's moral taste upon the translator's choices. Part 2 analyzes two cases in which source language (SL) texts have been heavily transformed, i.e., "appropriated" by two Argentine contemporary playwrights.Documento incorporado en 2019 en el marco del "Programa de becas de experiencia laboral" de la Biblioteca Guillermo Obiols para estudiantes de Bibliotecología, a partir de un procedimiento técnico de captura de datos desarrollado por el personal del IdIHCS.Facultad de Humanidades y Ciencias de la Educació

This paper discusses the challenges translators face when rendering Shakespeare's King Lear into Arabic. Issues considered include metaphor, diction, classical references, and social titles. Our strategy depends on finding out examples of the distinctive features of Shakespearean style and comparing them with their counterpart s in two Arabic translations of the play by Jabra Ibrahim Jabra and Fatima Moussa Mahmoud. Comparisons reflect various problems translators face when conveying Shakespearian language into Arabic. For example, some imagery, especially personification of abstract ideas, is either absent or modified. Such deletions and changes render the target text less effective. Translators also adopt different approaches in translating classical references relating to Roman gods. While Jabra adopts foreignization as he keeps the feel of the source text by transliterating a number of these references, Mahmoud naturalizes them by giving Arabic paraphrases. The advantages and pitfalls of each technique are evaluated to find out what aspects of the ST are rendered into Arabic and which ones are not given priority. Contextual factors involved in the decision making process are discussed to illuminate the complex nature of translation. Problems of translating social titles appear when one finds that the same title is given different renderings in different parts of the play. Shakespearean diction causes certain problems due to the absence of one-to-one word equivalence. The need to take audience's social and cultural background into consideration makes translators avoid literal renderings. Explanations and better renderings are suggested to provide the Arab audience with a better access to Shakespeare and enrich translators' knowledge of their multifaceted task.

Al-Nahda – the Renaissance corresponds to the advent of “modern civilization” (al-tamaddun al-ḥadîṯ) in Egypt and the East through contacts with the West. The Renaissance is opposed to the Middle Ages (al-qurûn al-wusṭâ), times of darkness. It is intended, more than a renewal of old models, a revolution of knowledge and thought. It is born of more or less violent contacts with the outside. Just as the Renaissance of the East is fertilized by the Western contributions so the European Renaissance which preceded it is largely attributed to the philosophical and scientific mediation of the Arabs of Andalusia. My research is a re-consideration of al-Nahda, highlighting the development of contemporary Arabic literature as a result of the late-19th – early 20th cultural rebirth of the Arab world, with a special stress on the French-Egyptian cultural transfer and the importance of translation.

Rilke's 1910 Die Aufzeichnungen des Malte Laurids Brigge is fixated on figurations of lost homes which tell of the loss of 'the poetic measure', i.e. the decrepit status of art at the fin de siècle and the dominance of commodification. Malte's viewing of the La Dame à la licorne tapestries is a unique moment of aesthetic plenitude previously unseen in the novel. Through a new reading of the tapestries, this essay investigates medieval precursors to Rilke's poetics, his concept of intransitive love, and the concept of a 'dwelling' in the mind where the psychic traces of the absent object are found.

In 'Western' countries there is observable interest in (Eastern Christian) Orthodoxy among post-secular people - often among intellectuals, who convert to it after itineraries through secularism, and spiritualities perceived as not too theistic.
It is a turn from the void of nihilism and materialism, that is inspired by the spiritual aisthesis of Orthodoxy.  This attraction often has a basis in the experienced encounter with Orthodox liturgy, icons, rites and music. Also its sense for the 'spiritual' beyond words.
Rainer Maria Rilke, foremost poet of the German language of the early 20th century, was fascinated with it. Sharing the artistic concept of arts as means of divination, Rilke developed his poetics through the experience  with Orthodoxy on his travels in Russia (and the Ukraine), and by familiarity with the ideas of Russian Symbolism. It had a lifelong impact on his poetics and poetry. This 'Orthodox experience' was mediated to the German readership by him, most of all. Its appeal is a 'soft power' that needs to be explored, as to the potential of Orthodox theology for post-secular quests, and for cultures striving to retrieve the dimension of the divine.

У статті йдеться про дискурсивну практику есею-шкіцу в сучасній українській літературі. Спозиціоновано шкіц серед інших видів есею. Осмислено сутність шкіцу як есею ментативного типу. Розглянуто його особливості на прикладі творчості Івана Лучука (збірки «Ніби поезієзнавчі шкіци», «Літературний джаз», «Трохи поезієзнавства»). Зроблено висновки про специфіку спресованості ідей, сконцентрованості й ущільнення поля розмислів у шкіці як літературному творі.

In the paper, we describe an algorithm for generating Czech iambic verse and its implementation on a computer. It is a continuation of the work first done in 1972 [6], in which a program generating Czech iambic verse had been developed, written in the programming language Algol-Genius and run on the mainframe SAAB D21 with interesting results. Here, we present a new experiment which is a follow-up of the previous one and includes some new techniques as e.g. using a complete Czech automatic morphology (Majka) plus small DC grammar of Czech. The poetic rules built before 1972 by Jiˇri Levý are used with only slight modifications. SWI Prolog has been selected as a programming language. Also the resources are different, as a base for the poetic vocabulary we have decided to use the literary texts from Czech Wikisources.

The topic of this paper deals with a study of one of the phenomena of verbal participation in the ancient Egyptian language. It focuses on the contronyms or auto-antoym, enantiosemy, and its meaning in the language. The study will deal with the word that bears  a meaning and its opposite; then, identify the contextual meaning for these words from the different texts. Furthermore, identifying the word, its contronyms and its different written forms. Finally, the researcher will support the examined topic with evidence and inferences from the texts.

The topic of this paper deals with a study of one of the phenomena of verbal participation in the ancient Egyptian language. It focuses on the contronyms or auto-antoym, enantiosemy, and its meaning in the language. The study will deal with the word that bears  a meaning and its opposite; then, identify the contextual meaning for these words from the different texts. Furthermore, identifying the word, its contronyms and its different written forms. Finally, the researcher will support the examined topic with evidence and inferences from the texts.
Key words:
Contronyms, Auto-antoym, Enantiosemy, Verbal participation, Opposites, Egyptian language.

The Cyranides^(referred to hereafter as Cyran.), from which the last word of the title of the present article derives, is a curious /arra^o of ancient medicomagical lore in Greek. It consists of six books or divisions of unequal length and is a work of considerable antiquity; according to both the compilers of LSJ (LSJ Suppl. vii) and those of the Canon of Greek Authors and Works'^the work is dated to the 1st or 2nd cent. A.D. It is a manual containing, inter alia, information on the various properties of herbs, plants, land animals, fishes, birds and stones as well as medicomagical recipes utilizing those properties. In terms of content, cultural aspects and "sciences" involved, the components of Cyran. are diverse and quite often incongruous: mythology, sciences of the occult (astrology, divination and magic), folklore, mineralogy, medicine, botany, and zoology including ichthyology and ornithology. The tone varies immensely, ranging from solemn, pious and mystic to didactic, scholarly, quasiscientific, to facetious, humorous and frivolous. The work is in prose with an admixture of a few verse passages in dactylic hexameter and iambic trimeter; neither the prose nor the verse shows any signs of craftsmanship and literary pretentions on the part of the anonymous author(s). The importance of Cyran. then lies not in its artistic-literary merits, which are non-existent, but elsewhere, namely in its value as (a) a source of Hellenistic and oriental science, pseudo-science and folklore; and (b) a rich mine of classical and Hellenistic lexical (including grammatical and syntactical) material which has not been preserved by any other written source. The importance of Cyran. as a valuable text for the knowledge of •I wish to record here my sincere thanks to Professors David Sansone of the University of Illinois at Urbana-Champaign and George E. Pesely of the University of Northern Iowa for their helpful ccnunents and criticism with regard to this article. * For a bibliographical survey pertaining to the Cyranides, see R. Halleaux and J. Schamp, Les lapidaires grecs (Paris 1985) xxvii. The latest work, not included in that survey, is Maryse Waegeman, Amulet and Alphabet: Magical Amulets in the First Book of Cyranides (Amsterdam 1987). L. Berkowitz and K. A. Squitier, Thesaurus Linguae Graecae: Canon of Greek Authors and Works, 2nd ed. (New York 1986) 93. brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Illinois Digital Environment for... written by the author(s) of Cyran. as either synonyms or more familiar names for various objects, in order to enable the user to identify the object under discussion more easily. In addition to words that come directly from Cyran., I have also admitted to this article as entries a few words drawn from the Cyranidean Scholia, marginalia and supralinear glosses; entries of such provenance I have designated as just "gloss" or "gloss on word X in Cyran." On account of their formation and function as, at least in the case of some of them, technical terms in various branches of science, I felt that such words must not be denied admission to a lexicon of classical Greek, especially since the scholia on so many ancient authors have been most profitably utilized by modem lexicographers and philologists in general. The edition of the text used for the composition of this article and to which the Cyranidean references are made is the most recent one, namely that by Dimitris Kaimakis, Die Kyraniden, Beitrage zur klassischen Philologie 76 (Meisenheim am Glan 1976). The edition appeared comparatively recently, after the appearance of the 9th edition of LSJ and * The only lexicon other than LSJ and LSJ Suppl. which has included citations and entries from Cyran. is the Diccionario Griego-Espanol (in progress). I have compared this article against the two fascicles of DGE that have appeared up to now. The entiy dfineXiov of this article is recorded in the lexicon in question s.v. I. 2 with its single citation coming from a papyrus source which is later than my source by a century. Three other entries, dYpioXdxavov, ainocrcoX^and ajieOvooq, are incorrectly explained or treated in DGE, as I demonstrate under each entry.

Feng Zhi 馮至 (1905-1993), one of modern China’s greatest poets, conceived of nature as an “open secret” which could only be revealed by a deeply perceptive artist able to craft “living images of the objective world.”1 Speaking about the life and work of Goethe in 1985, in the final decade of his life, Feng celebrates Goethe’s capacity to see “the grand in the minuscule, overall oneness within each individual element, infinity in that which is finite, and eternity in a single instant.” Feng’s emphasis of this particular approach to the art and practice of poetry is no accident. It represents the condensation of a lifetime spent thinking about and creating modern poetry. In his late collection of essays entitled Lun Gede 论歌德 (On Goethe, 1986) Feng Zhi draws numerous parallels and connections between Goethe and Du Fu, emphasizing similarities as well as differences in the two poets’ aesthetic-intellectual outlooks, life experiences and lyrical modes of expression. The way in which Feng Zhi understands and interprets Goethe by relating him to Du Fu in this analytical work is, I argue, fundamentally informed by his own poetic credo and the influences he received from Rainer Maria Rilke’s (1875-1926) modernist poetics. These reflections, which Feng Zhi wrote in the last years of his life, connect to poetic ideas he had initially expressed in the “Foreword” to his translations of Rilke’s Letters to a Young Poet in 1937 and in an even earlier essay entitled “What I have Learned from Abroad” which he published after his return from studies in Germany in 1930.
In what follows, I present an analysis of key themes and techniques in both Feng Zhi and Rilke’s literary oeuvres, trace their connection to each other and then compare the ways in which their respective philosophical-aesthetic concerns come alive in their poems as well as in their non-poetic reflective writings. This study contributes to existing scholarship3 about Feng Zhi’s modernist poetics by placing special focus upon his philosophical arguments concerning poetics in On Goethe, and tracing how Feng Zhi envisioned a syncretic fusion of classical Chinese aesthetics (Du Fu’s poetry), European romantic impulses (Goethe’s thought) and modernist poetic practice (Rilke’s experimental innovations).

An updated and expanded, free 568-page book on verse as an art form — a practical guide to writing verse in traditional, Modernist and Postmodernist styles. Illustrated with copious examples ranging from Chaucer to contemporary American poets, plus hundreds of Internet links, this guide bridges the gap between self expression and the production of professional work worthy of detailed literary study.

The theory sections explain not only what poets are and have been trying to do, but why verse takes its often stylized forms. The opening chapters cover the theory and aesthetics of verse, genre considerations, sentence structure and rhetoric, stanza forms and word choice, sound patterning, metaphor and imagery, metre and rhyme. Then follow chapters on the sonnet, lyrics, rhyming couplets, ode, pastoral elegy, light verse, blank, narrative and dramatic verse, modernist and postmodernist styles, and performance poetry.

The book concludes with a step by step guide to verse construction, a chapter on translating Italian, French, German and Sanskrit poetry into English forms, and a final 50 page bibliography

As the ancients also recognized; cf. e.g. Eur. Hipp. 498 cb 5eiva Xil,aa'. ^Or even avayKaia-on which see below. ^Else (above, note 2) 566 n. 12: "This is what has reduced the passage to the inanity we spoke of earlier." '^T he text of this study was completed in February 1993. I am grateful to Professor

Une présentation plus compète, avec le détail des sources antiques et des écrits modernes, a été donnée dans OBSOMER 1995, p. 237-310 (Ouaouat), p. 311-355 (Kouch) ; OBSOMER 2007, p. 54-58 (Ouaouat), p. 58-67 (Kouch). 2 Cet aspect est approfondi dans OBSOMER à paraître. 3 Stèles Philadelphie E 10995 et EES 882 : SMITH 1976, pl. LXXII.3 et pl. IV.4. Pour les partisans d'une corégence entre Amenemhat I er et Sésostris I er , l'an 5 de ces stèles correspondrait à l'an 25 d'Amenemhat I er . Le temple de Bouhen aurait alors été construit 4 ans avant la conquête de Ouaouat par les troupes du même roi : les Égyptiens auraient-ils éprouvé les pires difficultés à soumettre les Nubiens du Groupe-C ? J'ai démontré qu'il n'en était rien. 4 ŽÁBA 1974, n° 10A ; OBSOMER 1995, n° 99.